 Jimmy K. here, Metal Voice. Look at this. The Metal Voice shirts are now on sale. Just go to the video description to find out on how you can purchase one. Metal! Welcome to the Metal Voice today on the show. Alan? Rick M.S. Geez, this is like a dream come true here. I know it's a Metal Show, but I'm going to give you jazz hands. You know what, Rick? I was just watching this news report from 1981-82 on much music, and you're playing soccer with Steve Harris of Iron Maiden. It was amazing. And they introduced you as, and here's Rick Emmett from the heavy metal band Triumph. Yeah, well, the truth of Triumph is that I think the other guys, especially Gil, the drummer, I think he would have preferred that it be a metal band. And Mike was, you know, kind of happy to go along on that journey. And when they first initially envisioned the band, before I was even in it, I think they sort of saw it as, oh, this is going to be like, you know, Jimi Hendrix, cream kind of thing. So I've seen Clapton in interviews talk about how he thinks cream was maybe one of the first, you know, heavy metal kind of bands, which, you know, I dispute that. And I sort of think of the beginnings of heavy metal when the term was getting thrown around. It was Deep Purple and Black Sabbath, to me. You know, that's where it really started. And to me, Deep Purple is one of the four, when I joined Triumph, that was one of my favorite bands. And we used to actually do, as a bar band in the early days, a little medley of Deep Purple material. And of course, Zeppelin, we were a huge Zeppelin copy band. So that was where the band started. And that's where those guys, you know, that's where they envisioned it. But, you know, I did have more progressive kind of bones in my body. And the band would, you know, plus I was also a bit of a, you know, I would write a tune and I would hope that it might cross over to AM Radio. And there's no heavy metal never did that. Journey did that, you know, Sticks did that, you know, there were a lot of those kinds of bands in the, out of the 70s and into the 80s that were making that transition. But yeah, I think the other guys sort of saw it as a metal. So one of the reasons why we're having this interview today is... Good segue, by the way. It's a great segue. ...re-release of all these solo albums. And I'm proud to say on July 13, 1998, the launch of Rick Emmett's solo career opening for Kim Mitchell, I was able to see you here in Montreal back in 1998 on your absolutely tour. With a saxophone player, with a saxophone player. Yeah, Colleen Allen played saxophone and Chris Brockway on bass, Sil Simone on guitar, Dave Kachuk on keyboard. It was a big band, six guys. Randy Cook on drums, fantastic drummer. And he's gone on to, he lives in LA now and, you know, goes out on tours with all kinds of people and plays on all kinds of records. Randy was a tremendous drummer. Yeah, that was fun. We called that the sneak preview tour. I don't know if you get your year right. What year were you saying? I said 1998, I have it down. Oh geez, no, buddy, 88. Oh, so 88. I'm sorry, 88. Yeah, sorry, transposing numbers. I do it in my old age all the time. No, 88, opening for Kim Mitchell and, you know, getting, it's almost as if you wanted a downsize, right? You did the arena rock thing for years. You even got, like you said, Brock, then the saxophone player. And you were really doing your own thing at that time, with some great radio airplay at that time as well. Yeah, like when I left the band, obviously I wanted, you know, the reason I left the band was because I wanted to do things that I couldn't do in the Triumph situation, you know, I mean, it's not like Triumph was going to, if I said to the other guys, hey, let's get a female sax player. She can sing harmonies and we'll get sax lines all over the material and we go, what are you nuts? You know, that's, no, we're not doing that. But of course there was also pressure from managers and agents and even the record company at the time saying, well, you don't want to get too far away from that, you know, I mean, on the cover of that absolutely album, which followed on that Kim Mitchell tour, you know, black leather, yeah, there we go, black leather jacket, black lust ball, like that sort of says, hey, there's a hard rock guy. Yeah. There you go. Yeah. Yeah. A happy, good, lucky heavy metal rocker. But I mean, the first two albums, I remember being in an elevator in London, Ontario and out of the blue off, it's so factor. It comes on over the loudspeaker. So those three albums I found they were easier to find. You got promos and then it kind of, with this collection, it was more difficult to find as a fan. And we should set this up, Alan, round bill records to reissue 11 Rick Emmett solo titles. And this was like you said, July 10th. And I guess will these be available on vinyl? Are they only digital? And will they be on CD, Rick? They're originally, you know, coincide with my birthday. It was all a digital thing. It was like, see, and this answers some of Alan's question to a little bit. When I, after those three records, I started making them on my own. I became an indie kind of guy and I would make the records and I would put them up for sale on my website. I would manufacture CDs that I would sell off the stage or do mail order for whatever, get somebody to do mail order for me. And there wasn't digital downloads yet. And, you know, I think Napster kind of came around 90. And I'm Napster 98 maybe. Anyway, when the whole thing of file sharing and downloading started, I never really pursued it. Like, and I wasn't really, to be perfectly frank, I was never all that concerned about trying to retail records and turn myself into a record company kind of a person. I was still just a musician. I'd write, I'd record, I'd put out these records. If I made my money back, I'd go, oh, great. Okay, let's do another thing, you know, like, and those records, I was all over the map. Like, you know, you fellas are, you know, clearly in your heavy metal niche. Yeah. I was doing stuff like, you know, jazz, top stuff, classical guitar, blues, you know, I was fulfilling all of the things that, that had been frustrated dreams when I was in triumph. You know, now I was just going to do whatever I wanted to do. And so it's kind of this lovely thing that, you know, after God knows how many years, you know, a couple of decades along comes round deal. And it started because they were doing the triumph stuff. Right. They put it on vinyl to answer your question, Jimmy. They put out like, I think the latest one was the Allied Forces record. Oh, no, the classics. The greatest hits came out on vinyl. And I think what round hill does is they put them out first digitally, so that, you know, iTunes and Spotify and Pandora and all of these streaming things. Shit that I never did. I never pursued any of that. They've said, well, we're going to do that first. And if it goes well, my guess is they'll crank up the vinyl my guess is they'll crank up the machine and say, all right, let's manufacture some vinyl and do that next. You know, like they'll pursue the things that become more expensive things to do. Manufacturing up a CD run. And if they don't, you know, if they put them out and sort of nothing happens, I go on the metal voice and, you know, I do my interviews and they go, well, we didn't sell much off of that. We'll try our best. Yeah, good for you. Get out there and beat the bushes. You know what it is, Rick? Rick, people are aged by vinyl and people are aged by CDs. So they like physical, right? I know. We're getting up there in age. I know, totally. I get it. I mean, on my own website, on my fan forum, like that people will put, that's exactly what they post up because they're as old as we are. We're your target market. We're your target market. You're on the right show. Right. So, you know, I guess what we'll do is, you know, I'll just leave it up to you. You guys can get back to round deal and tell them, you know, if you want to do this, right? And just to go back to your earlier point, though, I mean, like you said, the valves were open. You were doing anything you wanted. And, but you never stopped working. It's not one of their, where, where, where is he now? Kind of segment, you know, you've never stopped. I think you were one of the earliest guys to embrace the internet and promote yourself through that. That's off to you on that. And I mean, there's 10, and here's the proof. Here's 11 albums being re-released. Yeah, you know, like I think of myself as being very lucky. Like I've had a kind of a blessed life that, you know, I didn't have to struggle too hard to kind of keep things going along. And of course, I've never gone through a period where I dried up where I felt like, oh, geez, you know, I can get up every day and get my pencil and get my notebook and I can write. Like, you know, I've just finished a book of poetry, which I think is going to get published. So I've always had a creative part of me and I've been able to indulge it and, you know, somehow the boat floats, you know, and so that's good, you know. And now, hey, Round Hill comes along and says, we'd like to make a deal and do this. I go, wow, okay, that's a lovely thing. That's great. Thank you, you know. And again, that's kind of, it's kind of like luck. Now, some people might say, well, it's not luck, you know, you work hard and I did retire from touring a year ago, January, I stopped playing live gigs. So there is that. I did kind of make a gesture towards my age and stage going, you know, I don't like playing guitar and I don't mind writing, but man, I don't want to get in the limo and go to the airport and have to get in the plane and go to baggage and get the thing and go to the hotel and, you know, like that was wearing pretty thin on me. Not even a one-off? Maybe a one-off, a special night? It's possible. In fact, I did have a couple of little things booked. I was going to do a couple of things where there's these kind of things now where you can go and they'll interview you and then you play two or three songs, but somebody talks to you, you know. So it's sort of like doing the show except you pick up your guitar and sing some tunes. So I went, okay, I'll try a couple of those, book those and I'll, you know, I'll spread them out and I'll try them. And there was one gig where I went, I played a lot of gigs with Dave Dunlop, who was my duo guy and some of the records that, you know, on that thing there that you got behind you. Hold on, let me present. Let me present. Vanna White. Yeah, there we go. Some of those records are, I was in partnership with Dave Dunlop playing guitar duo stuff. And there's one record for your hard rock heavy metal fans. There's a record there called airtime Liberty Manifesto, which I did with a guy named Mike Shotten. And it's really hard rock. It's a very progressive hard rock kind of record. That one in the corner. Right, right. Jimmy's right here. There we go. There we go. I like what I'm doing here. That's a real hard rock and record. Very modern, very approachable. And Dunlop is here, up here. Let me just get it here. Which one? There. I can't, it's hard to move because it's, it's a real image. I got you. Yeah. Are you giving the troubadours album the finger? Thumbs up. A big thumbs up. I'm really into presentation. I'm really into presentation. You're the Vanna White. And he's the Pat St. Jack. Something like that. And you're a guest. It's the, these little sessions that you do. I mean, it's the between songs banter that I think everybody really appreciates. I mean, going back to live at Berkeley, you're talking about taking out the garbage or one, you know, Sunday night is garbage night or something. Yeah. You know, I mean, M it is an Irish name. And so there's probably a lot of Blarney. And my, you know, DNA. But when I played gigs and solo gigs. To me, part of the appeal was it was like having a bunch of people in your living room. So I wasn't just going to play and stick to the, you know, set list. Like, you know, I was like, you know, you know, if somebody said something from the audience and it took me off on a tangent, I mean, when I lectured at the college, the kids would call me tangent man. Like that's all they had to do was give me an excuse enough. I would go telling a story or an anecdote or, you know, like to me, that's, that's what life is about. It's, you know, I'm, I'm looking to have fun. I'm not necessarily looking to have some sort of dry exchange. That's like, you know, it's amazing Rick, Rick. When I look at all your 11 albums and there's a few live there too. You're looking like from jazz to folk to acoustic to swing. Right. I just, I put them all on and I've heard them over the years too. It's just blues. I mean, country. I mean, you've done it all. I mean, people just don't really get what an established or versatile guitar player that you are. It's just, it's incredible. Well, you know, it's lovely of you to say and, and, and, you know, yes, I, you know, but there's another part of me where I go, you know, really, all I've ever done is written six or seven tunes and just dressed them up different, given up different styles, you know, different clothes. No, I think it's true. And, you know, I've been doing a morning of interviews here. So, you know, forgive me if I seem to be rattling on with shit that I've already said to somebody else. But when I first started, the first good guitar I owned was a nylon string classical guitar. That was the first good one that I ever had. And so the whole idea of fingerstyle, I would go and play Thursday nights at the West NYMCA in Toronto. They had a coffee house. And I would do James Taylor and Paul Simon and bastardized versions of Roy Clark's Malaguenia. Like it was kind of acoustic, folky kinds of stuff. And that's who I was. But of course at the same time, oh, I'm playing in a basement garage band and we're learning Led Zeppelin songs. And, hey, Eric Clapton used to play in the blues breakers. Let's do a couple of those things. I'm learning, you know, honing my ability to play blues on an electric guitar. And that's another voice that's a part of my youth, you know, where I started, you know. So, and then as I got older, you know, along came progressive bands. And here came, you know, yes, Steve Howell was a huge role model for me. Because here's this guy. Oh, he plays classical one minute. Then he's playing an arched top electric guitar the next. Oh, then he's playing slide on a steel guitar. Like he was all over the place and I loved that. I go, the clap, the clap. Yeah, there you go. And I'm going, that's who I want to be. I want to be that guy. And it was an eclectic kind of approach. If you're in a progressive band, you can fit it all in and try and fit in exactly, you know. But I think that push and pull was go ahead. Sorry. One at a time. We always had snippets. I mean, suitcase blues, little boy. I was going to say mid summer daydreams of the classics. There's always a serenade in there. And that's what was enjoyable for me as a fan. I mean, and again, another part of that is the positive lyrics, you know, fight the good fight, never surrender. And that's carried over into your solo crew. That's nice to see with songs like state of grace amongst others. Yes. Thank you. Yeah. Well, of course, part of that is, you know, if you're in a band that has decided to call itself triumph, like, what is that going to mean in terms of, not just in terms of, you know, an image that you're going or a brand that you're going to stick to in terms of marketing, which of course, heavy metal bands do that, you know, they, they, they established their brand. Yeah. Yeah. And, you know, to me, it was a pretty narrow kind of thing. I didn't want to have to stay inside that. But, you know, the band was called triumph before I was even in it. They printed up posters and they knew what they were going to do. But it took me until about 1978, 79 to start going, wait a sec. So if it's going to be this, then the song should be about honesty and truth and about, you know, like a higher kind of a purpose. And like, what is, how does anybody define their own triumph, their own victory? So I started to try and write lyrics and songs about that. And those were the ones that became pretty popular. So, you know, then it was like, okay, like when we played the Aus Festival in 83, you know, here's all these guys that are like, it's heavy metal day. So it's 95 degree weather and they're wearing leather and studs, you know, we're a little band in white and I'm wearing like a track top, you know, because it's hot. Like, I'm not going to, and my pants are white, you know, and a Brian Adams used to, he, you know, I saw him let's do an interview. He opened for millions of bands when he was first starting, he was, you know, wherever he could get a gig, but he would always wear an oversized white shirt. And he said, the reason was because when you're on a stage and you don't get all the lights, if you want people to see you, if you're wearing white, it's a pickup, whatever light exists, and at least people will still see you. And when we started to try, if I said, guys, we should be wearing white, because then when the lights go red, we'll be red when the lights go blue, we'll be blue. Like, we're white. So we were the band in white, and we were the only band in, you know, reasonable clothing on the day of the episode. No kimonos. Yeah. Or, to me, it was, the Judas Priest was the ones, they had Harleys, and they rode up onto the stage on Harleys, and then they got up, and they're wearing like leather pants and studded pigs, and poor, Rob Halford and Glenn Tipton, those guys were sweating like pigs about two minutes in, and I'm going, oh boy, I'm glad I'm not having to wear all that stuff. But Rick, okay, so, you know, in every, and like Alan mentioned, in every triumph song that was a bit of you, you know, be it the positive lyrical messages, or sort of the classical influence, or whatever it is, you put yourself in there, looking back now, are you saying, you know what, man, we really, because of the pushing and pulling of all of us, we really created some great music. I mean, how do you feel now when you look back? I think it's true that the band reflected, you know, the personalities and the character of the three of us, and you know, it's kind of like, sometimes the things that make a band good and unique are also the kinds of things that create stress and tension inside the band. They're eventually going to maybe be the things that break the band up. You know, John Lennon and Paul McCartney would be the supreme example, you know, but I mean, even Alan Fry and the Eagles, you know, like, if there's talent and there's ambition and there's creativity that's at work there personally, you get to a certain point. And when you start a band, you got nothing. So you're willing to make any sacrifice, but you know, after more than a decade, if there's been success, well, now there's money and there's power and everybody's getting older and people are getting married and they got kids and now your priorities change, you know, and you become more selfish. It's kind of a hard word to use because it doesn't seem like selfishness. It just seems like in a way self-preservation. You're just trying to be true to yourself instead of true to this collective thing that is already a dated idea. That's from 10 years ago. That's not from now. So, you know, I mean, it was inevitable that I was going to move on to my own things. But now, yes, as you say, looking back, you go, oh, we did some things that were, you know, we had some originality. We had some stuff that was true to who we were. And so I can give us credit in the band. They would say, okay, Rick, you know, here's enough for you to go hang yourself, you know. They would give me the freedom to do those things that you mentioned, like suitcase blues on just again. To me was one of the best moments of my life. You know, when I look back on it now, it was a pivotal thing in my life to have that song on that record, you know, along with the classical guitar piece, which was like, how many people could say, yep, got a classical guitar piece on a record that went platinum? How many classical guitar players could say that? That's right. No, you can't. And Rick, I think you're being extremely humble. I mean, I've said for years, you're the most versatile guitarist that ever this country's ever produced. You can play anything. And here's the proof with these release of these solo albums. Everybody should be checking them out. So Rick, you've played every court. I had the tabs for allied forces. And I think every single court known to guitarist and man, you've actually tackled basically. That's a good, Jimmy, I'll tell you a story. Ian Thomas is a good friend of mine, a singer, songwriter, Canadian singer, songwriter. And he was over for dinner just the other day was his birthday. And I would do these. I was on the board of the songwriters association with Ian. And we would, every year, there'd be the annual general meeting. And then there would be this, you know, bottle of wine would come out after, and everybody's sitting around there and have a guitar pole, which is a sort of a traditional folk thing. You know, everybody gets out there, acoustic guitars, and everybody takes a turn entertaining everybody else. So it would become my turn. And Ian would say, Hey, Rick, play one of those tunes there where you, you play all all I'm chords, play one of those chords in them. And so I would play, you know, Mr. B Bop or, you know, Beacon Street Hotel or, you know, something that's just full of jazz chord changes. And it gets in the end. And Ian would say, Jesus Christ, Emma, you play more chords in that song than I've known in my whole life. That's one song. It's true. It's true. Anybody who's a guitar enthusiast. All right. Before we run out of time, upcoming documentary Alan, upcoming documentary triumph. This is by banger, a great, great, you know, production team, a Canadian as well. Right. I mean, can you tell us a little bit about the documentary looking back? I mean, are there moments you're saying, man, oh man, I can't believe that. I mean, are there any, what are the pros and cons of this whole documentary? Well, you know, yeah, it's, it's weird. There's a surreal nature to having somebody and banger, they're very good at what they do. And they've done so many, you know, everybody from Iron Maiden and metallic and rush, you know, to, they've got one that's on Netflix right now. It's a ZZ top one. Like it, like these guys are consummate pros and they know what they're doing when they're telling a story. And so that somebody's digging around in your life, you know, they come to my house and do, they do an interview and then they come back a few months later and do another one. And then they come back another couple of weeks later and do another one because they're building, they're going deep, right? And you're going, oh, this. A little too deep there. Yeah, like, what are they going to find, you know, I'm a little bit concerned. But it's, there's a surreal nature to it that you're going back in your life and they're reminding you of things that you completely forgotten. And you're going, oh yeah, you know, and then they're digging deep and they're going, so when the band broke up and you're going, okay, this hurts actually, you know, I don't want to have to go back to that because, you know, the rise in the fall and the rise again, you know, like it's the fall that hurts. I don't want to go there. But, you know, I thought I'd put all this behind me and, you know, it was ugly, heavy baggage. But I'm not saying that the documentary, I've seen a rough cut and they did a really extraordinary thing. I hope I'm not giving too much away here. It's all right, just between us. Yeah, they flew in fans from all over the world. Yes, yes. They created an event and the fans didn't know that we were going to actually play three songs. Oh, wow. So they brought them all to the warehouses and they're walking around and they're looking at this sort of triumph museum-y kind of thing. They've got dummies with my old spandex jumpsuits on them. You know, chicks are taking pictures of the dummies ass, you know, that kind of shit is going on. So, and then they sit them down and they're going to show them a few little clips, you know, on a scrim. The scrim drops and we start, there we are and we play. Wow. At the rush of these. And these are the people that love us the most. There's another couple of hundred of them, but it's just, it was so intense. It was so amazing, you know. And of course they've got like, you know, 15 cameras around the room capturing every angle of this. And then you go, oh my God, like this is heavy, do we? You know, so it's really good. It really gets to the heart of you're a band. You create some music. You make a connection to people. And then here's these people. They, you're the soundtrack of their lives and it matters to them, you know, so they love you. I could get up there and fart and they would go, yeah. I can smell it from the back row. I love it. You know, Rick, I'm going to tell you right now from all my friends or people that I know that had documentaries on Netflix and so on. This is going to create another legacy of the band. It'll create layers and layers. And even like the guys in anvil like lips has told us many times their career for the past 10 years has been riding. Off of that. And new fans start emerging. Right. Yes. So be prepared. Be prepared for. Lots of triumph. A lot of demand for triumph. That's what I'm trying to say. Well, you know, I. Yeah. I mean, I felt when I retired from the road, I felt like I was going to be reinventing myself yet again in my life. And of course that poster behind you, you know, every time you put out a record, like you're reinventing yourself in a certain way. You're going down a different road, a different path. Yeah, there we go. No, they don't like that. Like, and that's a very, that's been a very eclectic life for me. So to come back to triumph now in my retirement. And now have you been taking on this size and proportion and, and, uh, Wait. Yeah. Yeah. But, you know, I feel like. I'm not going to let it necessarily push me too far out of, out of shape, you know, because I'm not going to try to recapture anything of who I was to. I, because I've had a life where. I pretty much put that behind me a long, long time ago. You know, now is there a comfortable way. To be who we are. You know, and still do it. Yes. Like I went on some of these rock cruise things, right? Played on a couple of them. And in particular, my last one that I did, Peter Frampton was one of the headliners. And Peter, like I've always loved Frampton. And I've always respected, admired him. And he was great. Like he played great. He sounded great. But he's been struggling with a physical thing where he's now literally had to retire from the road because he just can't do it anymore. Like his bones are getting soft. And it's not going to kill him, but it means that he can't really tour him. Play anymore. But he's got such a great attitude about it all, you know, he's being who he really, of course, Peter Frampton, you know, the golden locks, the, the, the poster boy of that whole era, you know, Frampton comes alive. He was the guy that was this cute blonde guy. Now I understand a little bit of that. Because I was on MTV with the blonde locks. You know, he's kind of a bald, skinny little dude, but he plays his ass off when he plays, you know, and I go, okay, that's pretty good. And since I'm on this topic, I'm going to mention one other thing because Jimmy, you talk about blues. You know, BB King, he eventually get to the point where he's way over way. He's got diabetes. You know, he's got diabetes. He's got diabetes. He's got diabetes. He's got diabetes. He's got diabetes. He's got diabetes. He's got diabetes. He's got diabetes. He's got diabetes. He's got diabetes. You know, but every night, man, they're walking him out. He's sitting on a chair in the middle of the stage, but he's still bringing it because he's BB. And this is what BB does. Is he plays the blues, you know, and I always went, okay, I, I, maybe I can still do that. I can figure out a way to do that. You know, sit on a chair and play the blues. Like if that's what it comes to, I'll give it a shot. You know, we can segue right into the bonfire sessions there. Maybe that's a, that's a great feeling, right? So the song is just sitting around our bonfire. Yeah. Yeah. I mean, in a way, again, just going back to my original roots and the whole folky thing, you know, that was a, but I can remember being in high school and we'd go to Wasega beach and we'd, you know, build a fire. And then I'd get out an acoustic guitar and all my classmates would be sitting around and we'd be singing, you know, Paul Simon songs or whatever, you know. And so I had reached this point where I'm thinking, maybe I'm not going to make any more records. Maybe this will be the, maybe this will be it. You know, so my studio in the basement, I bought a couple of really good mics and I go, okay, I'm not going to add any overdubs. No, no, just guitar and voice. That's it. And then, you know, I had this pile of stuff and I'm going, okay, well maybe just a fender telecaster and a little lunch pail amp, you know, maybe for the jazz stuff. I'll just, just, you know, so it reminds me of a Steve Martin in that, the movie The Jerk when he's leaving those goes, and I don't need anything. Well, maybe I just need this phase. Maybe I'll just take this picture. That's all I need. Just this thing. I need this. I mean, anyhow, you know, I get to the end of the process and, you know, there's 24 songs, 18 of them are like folky thingies. Three or four of those are kind of jazzy things. And then there's six finger style guitar pieces. Could I keep doing this for the rest of my life? I think I could. Do I want to? Well, that's not where the muse led me in the last little bit. When the COVID thing struck, I sat down and I wrote a book, a poetry, you know, and there was a real, you know, here I'm on a heavy mouth, so I'm talking about poetry. No, no, no, we're flexible. We're flexible. Yeah, like poetry is like, you know, absolutely one of the worst selling of all books that you could possibly put out, you know, and every publisher will tell you this, you know, like, look, we don't sell a lot of this shit, you know. Yeah, it's fine, you know, it is what it is. And, you know, but when the creative muse leads you to something and that's what you do, then it feels right and legitimate. Whereas, and I've said this in other interviews, sometimes in the music business, you feel like you're trying to bang a square peg into a round hole, you know. And I've said, you know, I'm 67 years old now. I'm really only looking for round pegs and round holes. You know, I'm not going to try and force anything, you know. It's just a game, Rick. It's just a game. All right, so let's summarize all this. All right, 11 albums being solo albums. And you know what this documentary will probably help those solo albums, right, in the process. 11 solo albums. Every flavor you could even think of to be, actually already released July, that were released on your birthday, July the 10th. We're not too far away. My birthday is July 21st. So there you go. We're almost the same guy. So you're a cancer as well. I am. Yes, I am. And I just forgot my train of thought. All right, Triumph is going to be re-releasing their classic albums on vinyl, right? That's another big thing. Or just the classic, all the classics. It was the greatest hits package and it just came out on vinyl. Yes. All right. Upcoming documentary to be determined in terms of a date. Is it done? I would think they're pretty close. I've seen the second rough cut. And I know that they were targeting September, which would have been the Toronto International Film Festival, which, you know, who knows what COVID is going to do to that and do those plans, but their goal all along was a fall release. So who knows what will happen. And maybe it'll just show up on Netflix or something. And the band, it has been honored with the legends of live award, which recognizes great contributors to the Canadian music industry, right? Yes. You have to wear a suit, a tie and. Well, we didn't have to dress up too much for that. We did have to dress up for the, did the, we got the walk of fame, the Canadian walk of fame. Yes. Like in November. And that one was, you had to dress up and you really had to behave yourself and, you know, that was a lot formal. The legends of live was more, you know, they had Canadian music weekend. We could dress informally and, you know, I didn't have to write a speech that I had to read off a teleprompter. I just had to go, Hey, yeah, thanks a lot for this piece of plexiglass. Yeah. And oh, any unreleased triumph material might be resurfacing or anything like that. Yeah, I don't know. I don't know. I know that the banger dug around and they found outtakes on old. Two inch 24 track stuff. Lord knows where they found machines to be able to lift that stuff back off of, but when I was looking at a rough cut, I went, isn't that a demo that I did for, you know, a song that never came out. And I go, Oh my God, those guys have really, you know, deep. Yeah. They've, they've swept the cutting room floor. Alan, last question. Hey, no, I just complete honor, Rick. I mean a fan from the 80s triumphs. One of my top favorite bands. You're one of my top guitars of all time. And it's a true pleasure to have you here on the show with us. I couldn't be happier. Thank you very much. We don't only do metal. We don't only do metal. Right. Prague rock. Good. The hard rock. We're like you. We're kind of, we call it the metal voice. We focus on that, but we kind of, you know, I believe that a lot of the musicians that are in heavy metal bands, they probably would be just as comfortable being in a Prague band. If they could have found a singer that could have cut it, but that became the problem was like, yeah, we can't find somebody that can sing like a chickadee. We've only got a guy that can go. Okay. We're going to have a heavy metal because that's all we can say. Cookie monster Prague. Okay. Have yourself a wonderful day. Thanks again, Rick. Thanks guys. Yeah.